Who IS this guy anyway?
It’s a NEW box office record for Checco Zalone, who beat his own record with his new film ‘Tolo Tolo’. Since the film opened New Year’s Day, the film has earned 8.680.232 euro with over a million tickets sold in its single first day. Checco’s last film, Quo Vado? brought in 7.341.414 euro on its first day and over 65 million euro in total.
Just to put this into perspective, this is a really big deal for an Italian movie, and some very good ones never make for the entire run of the film what Checco made in one day.
Tolo Tolo is Checco’s fifth film but his first as actor and director. He wrote the screenplay with superstar director Paolo Virzì, and with this kind of talent and name, Tolo Tolo just might be the movie that will make Zalone international success as well as an Italian one.
The Case For Checco
Italians seem to have thus far had a sort of love/hate relationship with Checco, and many intellectual film lovers dismiss him as vulgar, but I’ve been defending him ever since his first film, Cado Dalle Nubi.
And Americans, you are (mostly) out of luck if you want to check him out for yourselves. The movies that have thus far been made by this Italian comic giant have not been distributed in the United States.
But you can get the Italian DVDs from Italy – if you have a way to play them!
For those of you who think of Checco Zalone as an embarrassment to Italy, think again. First of all, his films are the highest grossing IN THE HISTORY OF ITALY. True story. Look it up.
Beyond that, he’s really funny. And yes, his characters are, at times, off color, racist, sexist, and basically pretty ignorant, they always learn and grow, and are better people at the end of the movies. And Zalone does not celebrate stupidity, he lampoons it.
The Checco train started at full speed with the comic’s first film Cado Dalle Nubi (I Fall From The Clouds, 14 million euro at the box office), Che Bella Giornata (What A Beautiful Day, 44 million), Sole A Catinelle (51 million), and finally Quo Vado, a blockbuster that has brought in, to date, about 65 million.
Quo Vado was, until now, the highest grossing Italian film of all time and the second highest ever of all films at the Italian box office (Avatar beat it by about a million). Written by and starring Checco Zalone (stage name of Luca Medici) and directed by Gennaro Nunziante, it’s about a guy named Checco (as usual), a racist, sexist, homophobic nitwit with a heart of gold.
Checco, the film’s protagonist, decided from an early age that his classmates who aspired to become doctors, lawyers and musicians had it all wrong. Checco knew what he wanted from an early age: an easy government job and job security, and in Italy that comes in the form of a “posto fisso”, a job virtually impossible to get fired from. Little Checco’s make-believe involved putting on a little suit and sitting behind a little desk in a pretend office, rubber stamping stacks of papers and answering phones.
“Hello, Uncle? Let me call you back. I don’t have to pay for the call.” Because the office is paying, just like it does in all good office jobs.
Checco’s got it made, with a job that will (supposedly) be forever, a girlfriend that is at his beck and call (because she’s riding that “posto fisso” gravy train for all it’s worth), and a good old Italian super mom who does the same, because she adores her mammone (mamma’s boy).
Problems arise with a change in the political climate and government attempts to end bureaucracy, but Checco is determined not to give up his sure thing and he digs his heels in, DEEP. An official, La Dottoressa Sironi (played by Sonia Bergamasco from La Meglio Gioventù) is assigned to transfer employees to undesirable locations in order to force them into quitting, but she’s met her match when Checco’s file lands on her desk.
She stews as Checco cheerfully finds the good in every transfer, and just when it looks like she can’t shake him up, Checco finds himself at the North Pole, wondering if he’s going to have to surrender. But wait, there’s a pretty colleague that he’s to work closely with, so problem solved. He’s found the good in the North Pole.
Quo Vado is so very politically incorrect (as all of Zalone’s films are) that I’m dying to know what Americans would make of him. Rapid fire one-liners that are offensive about 50% of the time and rampant, wall-to-wall stereotypes are, and I don’t make this statement lightly, VERY FUNNY. I don’t know what this says about me and I don’t care. I laugh. Out loud.
Did I wince just a little in the African jungle scenes with Checco telling his story to a primitive, loincloth wearing African tribe? Yes, of course. “Italians have big heads and small hearts”, the chief tells Checco.
“Only in the north”, shrugs Checco.
When Checco ends up in Norway, comparing Italian and Norwegian stereotypes is done pretty cleverly, and again, it’s laugh out loud funny. You’re going to want to see Checco with a blond viking beard, embracing Nordic manners and learning the language.
Zalone has said in the past that he’d like to cross over to American audiences, and Tolo Tolo might just be the film that will help him get there.